Quotes About Performance

This whole game of hit and flops will always be there and I have survived because I am hit. I think industry works on hit and flop.

I have a couple of friends who have gone pro in sports, and if you are off by an inch, it's an entire mindgame for the next week. That's how it works: like, your whole world is based around an inch. Being an actor, your whole world turns on an inch, too.

When I say, 'I can't stay long, I'm in-between meals,' that plays differently on the radio than it does in person. So I have to pick material that works because the words are funny, not just because of the images.

To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.

Since I was a child, I've been playing children. When I was little, I was the kid that you'd hire to do the reading or workshop of your new material.

I met Kevin when I was 19, at a Second City workshop. We were paired up together in the first class I went to. By the end of the class we formed our improv group, and over the next three years we performed leading up to the formation of The Kids in the Hall.

If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.

I danced from the age of three, so I was always going to do something performance-related. I got into the Television Workshop drama group in Nottingham when I was 11 and went there for ten years.

I tell my workshop students, 'I want you to think of yourselves as artists. Then, when you're writing, you're painting, you're crafting, you're making a design, you're sculpting, you're creating choreography, sound, a sound script.'

I worked on the workshop of 'Topdog/Underdog' before it went to Broadway. My minor in school was theater, so I'm based in that, and then I moved to Los Angeles.

I started doing musicals, but the acting bug bit when I did a four-week Shakespeare workshop.

I did ballet and gymnastics, and then I started acting when I was eight - just doing amateur theater at a place called Oldham Theatre Workshop in my hometown.

When I did musicals in London a number of years ago, I was in a workshop scenario for a year or more with 'Bombay Dreams.'

Because when you're in drama school, you're playing multiple characters at once. You know, in the morning you're doing a Chekhov play, and then you're doing a Shakespeare workshop midday.

For acting, a two-week workshop helped me break my shyness and made me able to perform in front of people.

I want to do theater and I am looking forward to doing more Television and Movies. I also want to direct some plays in theater workshops for people with disabilities.

I always feel a little funny being in front of a lot of people trying to show them my approach to the ukulele, but I do enjoy it. I do get a little more nervous doing workshops rather than performing.

They're the best critics. Workshops are good, and drama teachers are fine, but the best is the audience. And even better if they're paying!

Often when I feel I am reaching a saturation point in my performances, I think of coming back to NSD and attending workshops.

The world is a stage, the stage is a world of entertainment.

No business in the world has ever made more money with poorer management.

I think that the World Champion should try to defend the quality of play more than anyone else.

I didn't have to win, and winning wasn't important to me. Being world champion wasn't important to me. What was important to me was entertaining the audience, and whether that meant winning, losing, singing, or whatever it was on the live show we were doing every week, which was awesome, I was game for it.

I was a world champion on the trampoline at an international level, and gymnastics competitor.